Tag Archives: makerere art gallery

George Kyeyune: an artist in metamorphosis

George Kyeyune, lost wax sculpture in progress, 2015

George Kyeyune, lost wax sculpture in progress, 2015. Photo: Margaret Nagawa

George Kyeyune is a painter, sculptor, art historian, educator, and administrator. His role as an educator has been profiled here and here. He performs these multiple roles as a member of the academic staff at the Makerere Art School where he is director of the Makerere Art Gallery / Institute of Heritage Conservation and Restoration. In his new body of work for this exhibition created over the last six months, we see Kyeyune in a moment of transformation. Employing a multitude of materials, he narrates the notion of mobility through geographical space, social status, and his own artistic practice. In his Power of the Eye article of Friday 8th February 2013, Dominic Muwanguzi suggested that Kyeyune’s exhibition at Afriart Gallery was “studying the social scene of Kampala.” Kyeyune was then depicting boda boda drivers and mweso playing youth in Kampala. This time he presents a more personal narrative. Kyeyune was recently privileged to host an introduction ceremony, kwanjula, of one of his young relatives. He presided as a respected elder, a role that gave him a vantage point of power to observe and guide the ceremony. It was a springboard for this new work. There was a reawakening in him of the social expectations and actions played by various members in a community. He narrates a tradition that has remained alive despite the changing times where communications in a globalized world render the distant within reach, and the foreign accessible. At a touch of a button, after purchasing an Internet Bundle in Uganda’s bundled communications infrastructure, the world is in ones hands for as long as the bundle lasts.

George Kyeyune, at the kwanjula ceremony, 2015

George Kyeyune, at the kwanjula ceremony, 2015. Photo: Margaret Nagawa

The kwanjula ceremony performed among the Baganda is where a young woman introduces her intended marriage partner to her family. There is a roundness to the people Kyeyune depicts, a sign of health; affectionate gestures of friendship in arms wrapped around each other in an embrace. Gentle smiles. Richly hued and riotously textured in oils, touches of bright red provide a luminous centre for most of the paintings. This lends them an energy that is always palpable at the kwanjula ceremonies.

George Kyeyune, the beer, 2015

                                              George Kyeyune, the beer, 2015. Photo: Margaret Nagawa

The joy and vibrancy of the occasion masks a necessary interrogation of the role of women in Uganda’s society today. This is a debate about equality of men and women, women’s careers, their rights and responsibilities that Amanda Tumusiime discusses in her 2012 doctoral research. It is worth examining the reasoning behind the continuation of male members of the family presiding over the kwanjula proceedings. Men carrying traditional beer to the young woman’s father – a significant part of the discussions where the young woman is asked, omwenge tunywe? should we drink the alcohol? If she agrees, and the father in turn approves of the brew’s potency, there is agreement for the marriage to proceed. The mother is never consulted. She is not even present to observe. Rather, if anything should go wrong, she carries the blame: mwaana mubi, avumya nyina, a poorly behaved child, brings scorn on the mother.” Perhaps this state of affairs might metamorphose if room for debate is allowed to expand.

George Kyeyune, a continuation of the boda boda theme, 2015

                                     George Kyeyune, a continuation of the boda boda theme, 2015.  Photo: Margaret Nagawa

The elements of gesture, pose, colour relationships, and facial expression are a grammar that owes a debt to a Makerere art education. Kyeyune not only employs this grammar but also passes it on to his students. He teaches and creates with, and among, his students whom one observes working on sculptures in the outdoor studio at the Sculpture Department of the art school. This studio is under a tree shade provided by a muwafu tree among others. Kyeyune is experimenting with its sap for use as wax in lost wax sculptures. The brass is recycled salvaged padlocks, window handles, and other such brass objects. He melts and uses them for the sculptures in this exhibition. The few slabs that form the crucified Jesus Christ, and the heavily textured female and male mortals are a testament to his innovative approach to art making.

George Kyeyune, lost wax sculpture in progress, 2015. Photo: Margaret Nagawa

George Kyeyune, lost wax sculpture in progress, 2015. Photo: Margaret Nagawa

The interesting parallels between geographical mobility, social mobility, and material experimentation in Kyeyune’s older boda boda images and the new kwanjula body of work, show us an artist transforming into nuanced visual narratives. It is our responsibility as viewers to take that innovative step with him into further discussion of the art’s deeper significance.

George Kyeyune, lost wax sculpture ready for cleaning, 2015

George Kyeyune, lost wax sculpture ready for cleaning, 2015. Photo: Margaret Nagawa

This text was first published in August 2015 by Makerere Art Gallery / Institute of Heritage Conservation and Restoration, Makerere University, Kampala, Uganda, in the exhibition catalogue Quiet Dignity, a solo exhibition by George Kyeyune.

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AtWork_Kampala 2015: an alternative learning environment

On Buziga hill, Kampala, Uganda, I walked through a small metal gate into a beautiful, large garden, with towering trees. A refreshing breeze blew up the hill, calming relief after the heat in Kampala traffic. I took my shoes off, raised my hands to receive the breeze, and run down the steep, grassy hill. Artist George Kyeyune was my guide to this hidden gem, Maisha Film Gardens, a project by film maker Mira Nair and Professor Mahmood Mamdani. Half way down the hill, we joined a small group in a tree shade. AtWork_Kampala Workshop for young artists and curators was in progress.

Mira Nair and others at workshop in Maisha Film Gardens

Mira Nair and others at workshop in Maisha Film Gardens


The group of about twenty-four was seated in a circle on low round enga stools. Curator Simon Njami, in his trademark dark glasses, was speaking. He smiled. Welcomed us. This informal learning environment is the brainchild of Njami. Lettera27, an Italian foundation supporting the right to literacy, education, and access to knowledge and information, supports these workshops, in collaboration with Moleskine®, an Italian company that produces notebooks, and related paper products. This iteration in Kampala was hosted by Margaret Trowell School of Industrial and Fine Arts, Makerere Art Gallery / Institute of Heritage Conservation and Restoration, and Maisha Foundation. Curator Katrin Peters-Klaphake’s superior organizational skills ensured the smooth running of this weeklong workshop. I knew many of the participants either as former students at Makerere University Art School, artists, or curators with whom I have collaborated on various projects. Sculptor Lilian Nabulime was part of the circle. Nabulime and Kyeyune were the facilitators of this small alternative learning environment.
Simon Njami speaking to workshop participants at Makerere

Simon Njami speaking to workshop participants at Makerere

Katrin Peters-Klaphake speaking at Makerere Art Gallery

Katrin Peters-Klaphake speaking at Makerere Art Gallery


The AtWork workshop model uses the context of the place where it will happen, taking issues relevant locally as a starting point for thoughts, discussions, and idea sharing. In Kampala, the theme, ‘Should I take my shoes off?’ was arrived at when two schoolgirls visited the Makerere Art Gallery, and upon seeing a clean, quiet space, asked if they needed to remove their shoes before entry. As a symbol of respect and immaculate cleanliness, sacred places like houses of worship are entered barefoot, shedding distractions and dirt at the threshold. This was an apt starting point, for this kind of schoolgirl uncertainty is often encountered in young people embarking on a career in any field. Paradoxically, there exists a boldness, certainty, and willingness to tackle challenging situations, perhaps born of youthful confidence.

Some Participants

Joseph Adriko at work

Joseph Adriko at work

Joseph Adriko attended the AtWork Kampala workshop. He was one of my most illustrious students at the Makerere Art School in 2009. When his studies were interrupted by reasons beyond his control, Adriko set up a studio-cum-gallery, Adriko Arts, in his hometown Arua in Northern Uganda. Occasionally he travels to Kampala to feel the pulse of the varied art genres abundant in the city. He was delighted, expanded, and yet perplexed as a participant of the workshop. He chose to explore the confluence of art, architecture, and theatre.

Violet Nantume presenting her work

Violet Nantume presenting her work


Violet Nantume, another participant, was also my student at Makerere Art School. She juggles art making with curating. Nantume was one of four curators for KLA ART 014 – Kampala Contemporary Art Festival. Over time, her administrative and curatorial duties overshadowed her art making. She decided to register as an artist for the AtWork workshop in order to have an unencumbered opportunity to make art again. Nantume is a confident go-getter, and articulate speaker who has been accepted on the Masters in Curatorial Studies program at Bard College, New York. Her idea for the workshop was to challenge accepted social norms, suggesting possibilities of departure.
Leilah Babirye (left) in discussion with Robinah Nansubuga (right)

Leilah Babirye (left) in discussion with Robinah Nansubuga (right)


Another participant, Robinah Nansubuga, on the other hand, is not a Makerere graduate, but has worked with many private galleries, as well as 32° East and has curated exhibitions in Tanzania, the Democratic Republic of Congo, and Uganda, including as curatorial team member of KLA ART 014. Her locally acclaimed monthly discussion event Ekyoto is sought-after. She decided to revisit a failed application to the Young Curators’ Workshop at the Berlin Biennale, trying to understand why it was rejected, and what it takes to be a good writer. Nansubuga is an eager learner, and full of vitality. She joined the workshop as a curator.

Adriko, Nantume, and Nansubuga are resourceful and passionate young individuals who are shining stars in the arts. They are ready to be challenged, and willing to emerge as different or perhaps better artists and curators.

Innovative Pedagogical Conditions

Event–based learning
This workshop is remembered as a special occasion, because as a learning environment, it spanned only a few days. It enabled face-to-face encounters between renowned experts, nationally acclaimed facilitators, and young participants. As a small group, it provided access to experienced persons in a way that would not be possible through symposia or lectures. Participants got to know each other intimately, and were therefore able to share resources and opportunities. The event nature of the workshop, and the specific Moleskine® notebooks as material, gave participants a concrete goal to work towards, in a specific timeframe. This focused their attention in critical discussions, working, and progressive reflection. The process was steeped in intense, and metamorphosing emotions, for feedback was instantaneous, and response just as quick. Although it was a small group process, personal responsibility for learning was emphasized. As Nansubuga posted on her Facebook page on February 24 at 10:24pm, “How far we can go is our own making”.

AtWork Kampala is one of the recent events in Uganda, but there exist precedents in the workshop-based learning environment. Rose Namubiru Kirumira’s (2008) doctoral research focusing on workshops as formative spaces for artists, presents Triangle Artists’ Workshops as a case study. An article based on the same research co-authored with Sidney Littlefield Kasfir is published in African Art and Agency in the Workshop (2013). The Triangle Artists’ Workshops initiated by British collector Robert Loder and American sculptor Anthony Caro in 1982 have spread across continents. Uganda hosted one in Namasagali College, later growing into Ngoma workshops. The Triangle workshops typically last two weeks, take place in rural settings, and offer an experimental space for artists to work without academic or economic pressure. Other workshops have been run in Uganda for practical skills exchange by organizations and individuals like Uganda Visual Artists’ and Designers’ Association, 32° East, Weaverbird studios and Sanaa Gateja. They are based on a similar idea of a short time span, and finding community with others, while removed from quotidian distractions. Other workshops abound on the continent. Nantume participated in Asiko 2013 in Accra, Ghana, where she reported, “During the curatorial session, I noted that curatorship was beyond organizing a successful exhibition but critical analysis and writing that Bisi believed underpinned an argument that one puts across.” Also in 2013, Nansubuga attended the Curatorial Intensive developed by Independent Curators International (ICI) and the Bag Factory Artists’ Studios in Johannesburg, South Africa.

AtWork workshop is unique in that it alters the materials at hand, with a strong focus on the critical thought processes leading up to making an object, planning an exhibition, or writing a text.

Circular Sitting
Sitting in a circle signified a level playing field for all participants. With a cursory glance, one could not tell between facilitator and participant. This contrasts with formal education structures where hierarchy is unmistakeable. A teacher stands at the front of a classroom, authoritatively addressing students who are seated, quietly listening. In my observation, circular seating appears to have set the scene for an egalitarian community in the workshop where the facilitators and Njami were physically, and perhaps psychologically, seen as less superior, leading to ease in communication. It took great courage for Nabulime and Kyeyune to modify their accustomed superior role as lecturers, to become helpers and learners. To be vulnerable. To let budding artists and curators take centre stage. To set them free, to think, to question, to work through their visions. To communicate these visions.

This can be a mammoth step for learners too, as I experienced upon joining the Masters in Curating at Goldsmiths, University of London. Classes were held in a large well-lit room with no desks, rather chairs in a circle, with our tutors. On the first day, I could not tell who was who. Having received all my previous education in Uganda, I was accustomed to a top-down singular form of authority. Speaking when called upon. Not contradicting.

Modes of Address
Goldsmiths’ MA Curating course tutors Anna Harding and Tim Brennan, encouraged us to address them by first names. This was hard to abide by, for after years of conditioning that respect demanded a prefix and a surname, I could not easily bring myself to say, ‘Excuse me please, Anna. I have an alternative idea’. During the AtWork_Kampala workshop, I observed participants struggle with Mr. Simon, and Dr. Kyeyune, and Dr. Lilian. At the end they managed to drop the Mr. for Simon, but could not shake the long accustomed Dr. for the facilitators, who were also their lectures. Modes of address in a particular setting may encourage or deter open and inclusive discussions. They need attention in planning. Keen awareness as they evolve.

Lilian Nabulime starting her performance at the workshop presentations in Makerere Art Gallery

Lilian Nabulime starting her performance at the workshop presentations in Makerere Art Gallery

George Kyeyune reviewing past AtWork publication

George Kyeyune reviewing past AtWork publication

Instructional Methods and Materials

participants continue discussions over tea break

participants continue discussions over tea break


The methodological orientation of this workshop was to foreground the participants who presented their ideas, got feedback, engaged in critical thinking and discussions, worked and reworked them, interspersed with talks and examples of other concerns in the arts. The participants’ artistic and curatorial stances drew on varied genres such as poetry, theatre, literature, visual arts, reportage, and film. Perhaps as a stance of ethnic belonging, or an emerging confrontation with post-coloniality, participants started off with long held generalizations about identity of the ‘we’, ‘our culture forbids’, ‘my people believe’ variety. Njami listened to the participants’ ideas, and then critiqued their confident pronouncements on ‘we’ and ‘them’ binaries. On identity. With a stringent stance, which was often uncomfortable for the recipients, he encouraged taking stock of skills, a breadth of reading, self-reflection, and confronting one’s long held prejudices. With Njami’s counter positions, they were confronted with the modernist concept of an artist as an individual critical thinker and creator.

Participants responded with a mix of emotions from fear and disillusionment, to tentative appreciation and determination. They worked in smaller groups, and received one-on-one guidance. It was a consultative process where notions of becoming artists and curators, power relations, cultural production and mediation, were discussed alongside practical issues surrounding art making. The proximity of curators and artists in the same learning environment appears to have demystified each other’s practice. The process of open-space working rather than solo studio practice, and the public presentation of ideas and works in progress enabled critical reviews, and learning.

Each participant received two small notebooks: one for sketching, the other for final work. Text, sketches, material samples started to take shape. Quiet conversations, and solo introspection were prevalent at this stage. For some, a radical form of (re) shaping their identity commenced. Participants were considering their own experiential authority, the authority of the facilitators, and the authority of their chosen discipline. AtWork workshop offered a spread out, shared, form of authority, being not only from the facilitator figures, but also how their use of authority, connected with, and sometimes alienated participants. The facilitators and participants attempted to negotiate the impact on each other of their intersecting positions in the workshop. The initial anxiety and perplexity seems to have led to soul-searching and meaningful learning.

Dialectical dilemma
Although Simon Njami discourses from his own literary values, the participants attempted to weave his ideas with their own agency through references to indigenous cultures. The process of self-identification that compelled these young participants to refer to the cultural values of ‘we’ rather than ‘I’ is a valid one too, since the collective consciousness is still strong in their milieu. I wonder, is a locally situated, globally aware, mode of cultural production based on ‘ffe’ rather that ‘nze’ not possible anymore? Where does one situate Dr. Angelo Kakande’s email signature, one rooted in the okulanya tradition of the Baganda? Could it be a consciousness that situates him in a familial continuum? Some of the participants used Njami’s challenging stance as a springboard to reassess the convergences and deviations between the knowledge they hold unquestioningly, and the one he was proposing. A continuation of this conversation promises to be an exciting encounter of multiplicities. A frisson in the community. A volcano brewing.

Angelo KAKANDE
Musajja wa Kabaka; musajja muganda.
Muzzukulu wa Gabulyeri Ttakalirya.
Muzzukulu wa Njala Egobye.
Ava mu lunyiriri lwa Nakatalanga Nkoola.
Asibuka mu mutuba gwa Kalungi e Busere.
Ava mu ssiga lya Kasule e Buwembo.
Yeddira ngeye; akabbiro kkunguvvu.
Kasujja e Busujja ye mukulu w’ekika kye.

Omubala:
Tatuula asuulumba busuulumbi
Ttutu lifumita likyali tto bwe likula lifuuka lusenke.

Afterlives
How did the AtWork_Kampala workshop relate to Uganda’s economic conditions where one participant demanded a sitting allowance, just like politicians? How will artists express themselves in a society where their role is relegated to entertainment? Where will curators carve a space when curating as a practice is little understood? What is the significance of this workshop on art production, mediation, and consumption when the market, as a major driving force for informing stylistic decisions in Uganda, is not directly discussed? Will participants be agents of pedagogical reform? Will this result in radical change? Change? No change?

Nabulime feels that this kind of intensive, thought-provoking engagement is imperative for lecturers. Nantume’s art project challenged social constructions of gender-circumscribed behaviour, revealing biases in society’s expectations; perhaps hers is a much-needed cultural protest in Uganda. Nantume is raising funds to take her Masters at Bard College, while assisting on the Queen of Katwe film by Mira Nair. Adriko incorporates his mother’s theatrical performances, the circular design of traditional meeting places, with the architecture of theatre to alter its orientation. Adriko’s art must needs step away from the ubiquitous woman with a baby strapped on her back, as he foregrounds ideas, history and possibilities for his practice. Nansubuga has engaged a writing coach, is continuing her writing project, and curating an exhibition for May 2015.

Through the intergenerational and duo-location dialogue, participants appear to have opened themselves to new ways of thinking, working, and being. An elastic conversation begun through discussion, reading, writing and making, just like the elastic that holds together a Moleskine® notebook. It is imperative that we reflect on how the discursive space, and materiality of different art forms might enable experimentation. Might give room to disparate ways of knowing. To consider what can be learned though creative processes, we might consider letting go of the perpetual focus on finished text or object. Having said that, do not miss the exhibition of the participants’ projects at Makerere Art Gallery from 19th March 2015 to 11th April 2015.

Makerere Art Gallery / MIHCR

Makerere Art Gallery / MIHCR


I wait. Hunched.
Time passes.
Go. Witness. Keep your shoes on. Return.
Tell us about it. Guard the secrets. Conversations endure.


Mathias Tusiime’s new paintings


Mathias Tusiime’s acrylic-on-canvas works are composed of an array of colours in warm reds, vivid greens, deep blues, luminous yellows and plain white, that harmoniously coexist. Black-outlined faces with large, bright eyes and bright leaves are arresting features in the works. This jumble of colours is particularly appealing because of the variety of unexpected hues that echo the multitude of sounds and movements around Nansana where Tusiime lives and paints. The paintings are each distinctive yet reflecting the artist’s joyful vocabulary.

Although Tusiime sometimes paints on canvas, he is well known for his outstanding support – handmade paper, which he makes from sugarcane pulp, maize cobs and old paper. In this exhibition, he is showing the process of his practice. From trash, he collects his materials that he boils, pounds and coaxes into paper, which he then dries in the sun. In this way, he is recycling inexpensive discarded materials thereby reducing the rubbish mounds that otherwise plague the city. The coarse texture of the resulting paper is surprisingly visually arresting with thin fibers crisscrossing in all directions.

Tusiime paints children’s faces set within foliage but otherwise imprecise backgrounds. He comes from a large family and has little children of his own. He also works in Makerere University gardens surrounded by students. With almost half of Uganda’s population under age fifteen, it is not surprising that these young faces appear in the artist’s work, and are so arresting in their stares, confidently asserting their presence.

Tusiime plays a role in society of narrating the story of Uganda’s continued population growth and environmental laxity, while showing the joy in our persistence through the use of a bright palette. He points us in a direction of action where he leads the way by creating his own art supplies, in the face of economic hardships that thwart hopes of procuring expensive imported materials.

Throughout the exhibition, one is struck by Tusiime’s clarity and economy of expression. He invites us to participate in a conversation about the future of our youth, the future of our environment, the future of our country.

Margaret Nagawa, 2012


Mathias Tusiime: New Paintings

ImageThe haunting eyes of Uganda’s youth. The vitality of Kampala. The deep green leaves.